We found 1205698 price guide item(s) matching your search

A late Victorian hall lantern, with leaded glass panel, and two brass wall lights (box)

A group of assorted Venetian glass bowls and other similar items (qty)

A 19th century decanter, engraved flowers, 28 cm high, and a pair of 19th century glass rummers, and assorted other glassware (qty)

A group of Waterford glass, and other glass (box)

An Eastern brass spitoon, a coffee pot, a part suite of glass, and a dessert set of knives and forks, with mother of pearl handles, cased (qty)

A set of six ruby glass flutes, a Continental figure of a child in a high chair, on gilt mounts, assorted other ceramics and glass (2 boxes)

A 19th century glass tumbler, one side decorated Sunderland Bridge, the other a rose and a Scottish thistle, and named E H Harvey, 9.5 cm high, a pair of glass rummers, one chipped, and another glass rummer (4)

A cut glass cream jug, 10 cm high, a sugar bowl, and five glasses

Assorted Carnival glass, and related books and pamphlets (box)Glass in generally good order

Assorted paperweights and art glass (box)

A mahogany tub chair, a pair of oak chairs, and two glass topped tables (5)

Assorted paperweights and art glass (box)

Assorted ceramics and glass (2 boxes)

Two Lladro figures, a Royal Doulton Baronet pattern coffee set, other ceramics and glass (box)

Assorted paperweights and art glass (box)

A Masonic paste set jewel, boxed, a Masonic silver gilt medallion, boxed, and a Masonic glass paperweight (3)Glass paperweight has some chips

Assorted paperweights and art glass (box)

A Foley China 1937 Coronation mug and plate, and other assorted ceramic, prints, and glass (qty)

A part table suite of Venetian glass

A Royal Worcester vase, decorated fruit, 13 cm high, a similar cabinet cup, decorated roses, a blue and white plate, a Royal Doulton jug, and assorted other ceramics and glass (box)pottery jug has a piece missing from it's base, chips and losses to blue and white plates, some rubbing to guilt on Royal Worcester vase, cup and saucer, the saucer having a crack.

A full size brass rubbing, with an early photograph of the rubbing, the rubbing taken from St Mary's Church, Stoke d'Aberno, 204 x 83 cmWe understand this was done by a member of the familyThe frame is painted woodthe frame has been d i y painted and the paint has gone slightly over the glass from the framecondition is good cannot see any foxing paper is slightly rippled in parts

A mahogany bow fronted display cabinet, with the leaded glazed door, the top glass panels bowed, 104 cm wide

Assorted paperweights and art glass (box)

A Chinese silver coloured metal reliquary, with a glass panel inset with buddha, in an embroidered case, 10 cm wide

A Sullivan vase and cover, 10 cm high, on a carved wood stand, a glass vase decorated flowers, a pair of cats, a pair of vases, and assorted other Chines and Japanese ceramics (2 boxes)

A Chinese cabinet, with four cupboard doors, decorated figures in a landscape, inset with a glass top, 165 cm wide

19th century | height: 30 cm | region: York Glass Company | country: United Kingdom | provenance: private pharmacy museum | Albarello faience pottery | Made by the York Glass Company in the UK, this beautiful apothecary jar is a typical example of 19th or early 20th century pharmaceutical design. The container is decorated with a distinctive pink glaze and bears the inscription "UNG. HYD. MIT.", which refers to an ointment containing mercury (Unguentum Hydrargyri Mitius), which was historically used to treat various skin diseases, including infections and parasites. The container has a classic shape with a removable lid, which ensured that the ointment was kept in good condition and protected from contamination. The pink color of the container and the simple gold inscription contribute to its elegant appearance, which was characteristic of English pharmacies of the time. | condition: crack on top edge | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

Carved, gilded and polychromed Eucharist chest. Possibly France. Gothic. Circa 1300.21 x 27,5 x 18 cm.A marvellous chest for liturgical use that retains most of its original polychromy and gilding, although with some losses.The front and back, although not identical, have very similar decoration based on thin, stylised pointed arches with a marked Gothic aesthetic, finished with a half-pointed arch with three cavities inside, resembling stained-glass windows on the front. The sides are identically decorated with geometric and vegetation elements.It has a gabled lid that, on its front side, is decorated with branches which hide different types of flowers amongst them. On the other side it has two large rosettes like those found in the stained-glass windows of the most prominent Gothic cathedrals.The decoration is enriched by borders of dotted gold, sometimes single and sometimes double, which, when it was placed there, was intended to resemble goldsmith's work.The chest still has its original hinges, but the lock is missing.Inside, the lower part is painted red and the upper part depicts a blue sky with red and gold stars.The lower natural-wood strip that runs around almost the entire perimeter is modern, to complete what had been lost and  strengthen the structure.

Imposing carved and polychromed wooden cupboard. Viceregal work. Peru. 18th century.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.

Painter of the Andean viceroyalty. Attributable to Francisco José de Lerma y Villegas (Caracas, Venezuela. 18th century. Active between 1719 and 1753).“Patronage of Our Lady of Mercy over the Order of the Mercedarians”Oil on canvas.The canvas has some damage.52,5 x 39,5 cm. (with frame: 100 x 61 cm.)The painting with the same subject matter as this one, ‘The Patronage of the Virgin of La Merced’, which is kept in the Museo de Arte Colonial de Caracas Quinta de Anauco, is also by Lerma and is based on an engraving by Cavalli. The two have great similarities.As we read in the Royal Academy of History, ‘In his pictorial works we can observe careful drawing, harmonious colouring and an adequate knowledge of light and shade, as well as the combination of various stylistic features resulting from the imitation of prints and engravings from a wide variety of sources’. Our work is based on the engraving by Pieter de Jode I (1565 - 1639) ‘Our Lady of Mercy’ (PI 626A/3935B).Wonderful canvas from New Spain, richly framed, depicting one of the most popular themes in New Spanish art, the so-called "Patrocinio" (Patronage), which shows the Virgin Mary (in this case) or a saint (cf. parallels with the Patronage of Saint Joseph in this same auction, lot 62) protecting communities, religious orders, corporations and authorities under her mantle (with a clientelistic and corporate scheme typical of the Ancien Régime), as the main recipients of her heavenly benefits.Our Lady of Mercy and the Redemption of the Captives is the Queen and Lady of the Order of Mercy (Latin: Ordo Beatæ Mariæ Virginis de Redemptione Captivorum), a Catholic mendicant religious order, founded in 1218 by Saint Peter Nolasco (ca. 1180-1245) for the redemption of Christian captives in the hands of Muslims.  The Mercedarians committed themselves with a fourth vow, to liberate others who were weaker in the faith, even if their lives were endangered by it.This Virgin of Mercy, crowned ‘as queen’ of heaven under the Holy Trinity who contemplates and blesses the moment, protects the order of the Mercedarians, the Pope and the King under her wide mantle, raised and supported by two angels.The Pope we see is Gregory IX, who approved this religious order in 1235 with the Papal Bull "Devotionis vestrae"; next to him is Saint Raymond Nonnatus, another of the ‘principals’ of this order; the king, James I of Aragon, known as ‘the conqueror’ and, next to him, its founder Saint Peter Nolasco, and Saint Mary of Cervelló, left, founder of the female branch of this order, with some more of these Mercedarian sisters.All, without exception, are prostrate on a period checkered tiled floor: the king, the Pope and his bishops, and the entire religious order, kneel before the Virgin Mary and Lady Queen with both knees, an external gesture that expresses the greatest sign of submission.On the floor are scattered shackles, symbols of the redeemed captives.The painting has an imposing period frame, richly carved and gilded, with sections in painted glass (the polychrome is posterior). It is polychromed in blue, with flowery poinsettia, enclosing and completing the beauty and devotion of the painting. Bibliographic reference:- Ojeda, Almerindo. 2005-2024. Project for the Engraved Sources of Spanish Colonial Art (PESSCA). Website located at colonialart.org. Date accessed: 21/10/2024.

French school. Nancy. 18th century. Attributed to the Guillot Brothers' workshop..Nativity scene with dressed wax figures. ‘Crèche en Cire Habillée’,Diorama measurements: 57 x 70 x 41 cm.Showcase dimensions: 67 x 75 x 53 cm.Diorama, and small showcase. Framed with a golden frame, the showcase contains a religious scene with figures made of wax, paper, cloth, mirror, moss and remains of shells representing a Nativity scene comprising the Virgin Mary, Saint Joseph and the Child and around them the Three Wise Men, shepherds, washerwomen, angels holding palm leaves and cherubs' heads between mountains decorated with paper flowers, animals and bushes in the background.The delicately painted figures wear clothes in the style of the court of Louis XVI, delicately embroidered with brocade, silk and muslin fabrics. The figures in the diorama are of different sizes, which, when placed on different planes, creates perspective.This remarkable work of exquisite detail is typical of those made in the 18th-century city of Nancy, famous for ‘Cires habillées’ or ‘dressed wax figures’. These wax figure scenes from Nancy are presented in lined cardboard boxes or wooden cases decorated with shells, beads, crystals, mirrors and other materials such as moss, wood or straw, etc. Mostly religious figures were made, but also secular ones, both in relief and in the round figures.According to specialists in this type of object, Nancy's wax figures were small dolls with heads, arms and limbs made of hard wax and a padded body, the eyes were made of glass and were completed with natural hair and eyelashes. As for the other components of this type of work from Nancy, including this example, the background and decoration were created with coloured paper, ribbons, sparkles, pieces of fabric, braids and lace and some natural materials such as wood or shells. To fix all the elements in the correct place, the characters and clothes were sewn onto the bottom of the box.The workshop of the Guillot Brothers (Nicolas and François) was the best known of Nancy's wax artists. Their workshop produced creations that were highly prized by the French elite of the 18th century.This example is closely related to some of the creations by Guillot Brothers' workshop, exquisite pieces that are kept in several European museums. Reference bibliography:-Aptel, Claire; Hochart, Brigitte et Choux, Jaques. Les cires habillées nancéiennes : tableaux de cire et d'étoffes, Nancy : Éditions du Musée Lorrain, 1989, 72 pages.-Cugy, Pascale; Letourmy-Bordier, Georgina et Selbach, Vanessa. « Les "estampes habillées" : acteurs, pratiques et publics en France aux XVIIe et XVIIIe siècles », Perspective 1, 2016, p. 163-170.-Letourmy Georgina et De Los Llanos, José. Le siècle d’or de l’éventail : du Roi-Soleil à Marie-Antoinette, Dijon : Éditions Faton, 2013.-Malherbe Anne, «La Vierge au voile», Labyrinthe 4, 1999, p. 59-72.-Chaidron Meggy,  « Honore l'Éternel avec tes biens » :  Les cires habillées, œuvres de dévotion privée. Catalogue de Expositions temporaires, Les objets insolites nº 4. Erasmus House Museum, Bruselas, 2024.Catalogue de l’exposition Cires de Nancy, paradis de cires et d’étoffes

A Quantity of Glass Condenser Lenses, various sizes from 5 to 10cm, some appear to be in pairs, round and square variants.

A Collection of 4 Hand Held Spectroscopes, to include a spectroscope engraved in script 'Carl Zeiss Jena' in the original fitted leatehr covered case with glass windows; a brass direct vision spectroscope engraved 'A W Penrose & Co Ltd, London'; a spectroscope in a cae marked 'RAYNER MADE IN ENGLIND'; and an unmarked spectroscope in a case

A Leitz Wetzlar Elmar f/2.8 50mm Collapsible Lens chrome, 1960, serial no.1729775, body G, optics F, ring mark to front glass

A Selection of Magnifying Instruments, to include a USB digital microscope, a brass hand microscope, an Eschenbach stereo magnifyer, a table magnifying glass, and a hand loupe.

A Small Victorian Travelling Medicine Chest, English, c.1873, impressed in gilt lettering 'P & F SCHAFER 27 PICCADILLY LONDON' the tan leather covered case with monogram of EC to the lid, the lid opens to reveal 2 cut glass bottles and 2 cut glass jars each with white metal lids monogrammed with EC, fold down front (leather hinge broken) containing MOP handles tools, csissors and a silver gilt metal medicine spoon hallmarked for London 1873, case width 22cm.

A Zeiss Ikon 433/16 Shoe Mount Mirrored Finder, chrome, VG, mirror finish to front glass, in maker's box, and a Zeiss Ikon Ikophot exposure meter, VG, responds to light, in maker's presentation box.

Vintage selection of hand tools that include glass gutting tools, adjustable spanners, Stanley hand drill and 2 ratchet drills.

An Art Deco cold-painted figural globe lamp, probably early 1940s, the original internally painted glass globe held aloft by a naked lady kneeling on an angular veined alabaster base, 17 cm wide x 44 cm overall height.A private estateGood order

A pair of Regency rock crystal cut glass and ormolu vases, ribbon swag decoration over octagonal bases with Greek key motifs, 16.5 cm high.Qty: 2Extensive repaired crack to one of the vases - please photos. Some light surface wear elsewhere to both.

A Maritime Stores Ltd of Middlesborough brass maritime bulkhead timepiece, with a secondary dial at noon with a heavy bevelled glass lens.18.5 cm diameter.

A Murano glass vase, by Afro Celottto, of bulbous form with polychrome spiral decoration, etched signature to the base, 39 cm highGood condition, with no damage or repair

A carved wood Black Forest stick stand, modelled as a bear, its head set with glass eyes and an open mouth, holding a branch-form stick holder in its paws, on a naturalistic base with metal tray insert, 84 cm high.

A 20th century blanc de chine figure group of a Chinese mother and child, 22.5 cm high, under an associated glass dome, 33 cm overall height.Some minor losses to the decoration in places, but no major issues evident.

R. Taylor, an early 19th-century 8-day oak long-case clock, the painted broken arch dial bearing the portrait of Queen Caroline, the hood with swan neck pediment, 47 cm wide x 25 cm deep x 220 cm overall height.Formerly of Donnington Castle House, near Newbury, Berkshire Formerly of Donnington Castle House, near Newbury, Berkshire The glass of the hood is cracked. There are no weights or pendulum, so not in working order.Updated:The movement looks very clean and looks as if it has been recently restored and re-gutted.The cheeks that support the movement are uneven. It would seem that a packing block is missing from the right-hand side. This causes the dial to sit awkwardly in the hood/mask. It is common for these to be replaced.The hood door has a cracked glass panel, the clock has some patches to the veneers.The trunk door does not have a key.The clock does not have either weights or a pendulum.In short this clock would need some work to make good but it looks as if most of the horological work has been done, but sadly it will require a pendulum and weights.

A Dunhill Aquarium table lighter, of lobed rectangular form, each side with reverse painted intaglio fish and rock decoration on lucite panels, with plated mounts, signed 'Dunhill' to the arm, 'Made in England' to the base, 8 cm high x 9.5 cm x 5 cm.Private collection.Not in working order currently. Bruise and scratches to the top edge corner on one side of lighter. Remnants of previous silver polish to the mounts. Base metal showing through in places. Some light surface scratches visible under a glass, throughout, but no further apparent damage.

A 19th century Indian reverse painting on glass, depicting a lady seated on a balcony holding a flower and beads, 50 x 34 cm, later frame 57.5 x 42.5 cmReverse painting on glass (not a print). There is a crack to the right hand side of the glass, and further blemishes in places. We are not able to remove it from the frame, due to risk of damage.

A collection of Roman glass vessels, the tallest 26 cm, together with a Roman clay oil lamp, some items with purchase certificates.Deceased North London estate, no further history for the collection available.

A large Whitefriars 'drunken bricklayer' glass vase, designed by Geoffrey Baxter, of rectangular section form in the pewter colourway, 33.5 cm high x 14.5 cm wide.No chips or cracks, the interior would benefit from a clean

In the manner of Gumley & Moore, a rectangular George I/II carved wood and gilt gesso looking glass (wall mirror) with openwork shell mantle with scroll ear pieces with matted and burnished strapwork relief ground, with a scroll apron set with a bold "Dublin" shell boss, fitted with an old but not original mercury mirror plate of good colour. 67 cm wide x 125 cm overall heightAn established private collectionSigns of the sites of the brass sconces, perhaps never fitted.The plate is not the original but is an old mercury plate that has a pleasing grey tinge to the metal and some small areas of sparkle and degradation, but still reflects well.

A pair of 1920s mirrored wall candle sconces, with twin brass scroll arms, 45.5 cm x 29 cm.Qty: 2No major damage evident. Some silvering to the edge of the plates, more on one mirror than the other. The applied 'star' is missing on one of them. Some surface scratches to the glass visible, as shown.

An unusual 19th-century patinated bronze Colza lamp base, the column formed as Atlas on a square base, fitted a Victorian cranberry peg lamp reservoir with a Butler & Wright (Birmingham) burner gallery mated to an Aesthetic acid frosted shade glass shade, 68 cm high.Please see the last image in the series for similar Colza lamp bases The peg lamp reservoir has cracked from beneath the brass collar, the crack extends as far as the shoulder of the reservoir,

A large collection of Continental pharmaceutical and medicine bottles, to include two green glass examples marked 'Poison', five blue glass bottles, ceramic jars, a late 20th century cased chemistry set and other related items.

The Smiths: Four Gold Discs for the albums The Smiths,1984; Hatful of Hollow, 1984; Meat is Murder, 1985 and The Queen is Dead 1986, all 'Presented to All Trade Booking to recognise sales in the United Kingdom of more than 100,000 copies of the Rough Trade Album . . . ', Meat is Murder plaque with BPI certified sales award logo, all framed and glazed 20 ¾ x 16 ½ inches overall. (4)The Smiths (1982-1987) were a British rock band formed in Manchester, composed of Morrissey (vocals), Johnny Marr (guitar), Andy Rourke (bass), and Mike Joyce (drums). The band is widely regarded as one of the most important acts to emerge from the 1980s British independent music scene and is best known for the songs 'This Charming Man', 'Heaven Knows I'm Miserable Now', and 'There is a Light That Never Goes Out'. From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. Very good condition. Scratching and mold to Meat is Murder gold disc. A loose piece of glass within the frame of The Queen Is Dead. All unexamined out of glazed frames.

A cut glass decanter, with a silver collar, 27 cm high, another, and a silver plated and cut glass claret jug (3)

An Edward VII pierced silver basket, London 1902, 3.7 ozt, with a blue glass liner, an Indian beaker, an Eastern shot cup, and a pair of Continental silver coloured metal candle stands (5)

A 9ct multi-coloured gold bangle, 12.2 g, and a yellow metal and glass pendant (2)

A silver capstan inkwell, three trophy cups, on bases, a novelty glass pepper, with a silver mount and matching mustard pot and assorted other items (qty)

A Talleres de los Ballesteros silver coloured metal and glass bowl, with bubble decoration, 14 cm diameter, boxed

A Victorian silver plated desk stand, with cased glass inkwells, a pair of bottle coasters and assorted silver plated cutlery (box)